My latest short story, At Goodge Street, is published today in STORGY Magazine; an online literary short story magazine which aims to ‘challenge literary conventions and experiment with genre, style, form and content’.

What I like about STORGY is that it is an exploration of story across genres and media that at its heart examines what it means to be us… to be human. You’ll find art, culture, books, TV and film, competitions, interviews and more. But before you explore the other delights STORGY has to offer, take a quick trip to Goodge Street, where you’ll find a weird adventure awaiting you.

At Goodge Street follows the story of a couple who cross the boundary between fantasy and reality, playing a hidden game of love and betrayal against the backdrop of the myth and legend of ancient Hindu demons and gods.

Thank you to the staff at STORGY for publishing my story and I hope you enjoy it!

When I was a girl, my granda used to take me and my siblings for long walks in Ashridge Forest. We explored acres of glorious beech and oak woodlands, crunching through the bracken and collecting beechnuts and acorns to use as projectile weapons in the eternal sibling rivalry war. Trees have always fascinated me. The garden of my childhood was filled with hardy tree-climbing inspiration; Pines tall enough to see over the town and across the downs, Horse Chestnuts with perfect nooks and crannies for makeshift tree houses and stashing secret conker supplies. So, I guess it’s not surprising for me to link my love of trees and forests with my love of fantastic fiction.

The Gone Gods is one in a series of stories that feature dryads, nymphs, wood elves and other magical creatures. Writers have handled dryads in different forms for many years. Such stories are as old as the gods themselves. We find dryads represented throughout literature; Paradise Lost by John Milton, The Virginians by William Thackeray, and particularly as symbols of nature in; On the Difficulty of Conjuring up a Dryad and On the Plethora of Dryads by Sylvia Plath.

This short novelette, The Gone Gods, is three chapters, which explore the juxtaposition between modern urban life and ancient myth; how these wonderful and alien creatures rub up against the modern Londoner. Hope you enjoy it.

If you follow me on Pinterest, might have noticed my board for Dryads and Trees where I have been collecting pictures and researching dryads in literature to inform my latest obsession.

According to Greek mythology, dryads are considered to be shy creatures, supernaturally long-lived and intrinsically linked to their trees. In the case of hamadryads, they are quite literally part of their tree and if the tree dies, so do they. Dryads are also known as wood or tree nymphs; ‘Nymph’ meaning ‘young woman’ in Greek, so they are always female. They never grow physically older, though they are very long-lived, wise and intelligent. They do not like being disturbed but will always be friendly if approached in the right way.

Generally, they preside over groves of trees and forests. A dryad is born with a certain tree over which she watches and will punish mortals who harm trees. Animals and trees are friends of the dryads who are thought to be their protectors.

This is a story about a dryad I found in a local park in East London. She too is quite shy, but harbours a deep desire to start conversations with people. Ironically, she has a curse hanging over her, which makes this particular yearning somewhat tricky.

As writers we strive to engage in sensory description to bring alive our stories for readers. Through sight, sound, touch, smell and taste we can evoke a sense of the familiar and colour our characters with graphic depth. So, I thought I’d mix it up a bit in this story. Synaesthesia is an extraordinary condition where the stimulation of one sense automatically triggers sensations in one of the other five senses. For example, sound triggering a tactile response, music or voices seen as colours. I chose to play about with touch and taste in this case, but I’ll let you, my curious reader, decide for yourself how well you think that worked.

This particular story was also inspired by the deep divisions in our society that are growing ever wider and threaten our unique and inclusive cultural identity. The story takes us into a near future that is already sitting on our doorsteps. As a writer, you can’t help but reflect what you see going on around you. Whether set in our world, a future world or a re-written past, stories give us the opportunity to take a good look at ourselves and wonder what we can do to make the world a better place.

Thank you to The Mechanics’ Institute Review Online for publishing Unheard.

I became interested in steampunk fiction when I used it as a theme to research London’s influence on the genre as part of my MA in Creative Writing.

As well as discovering a rich backdrop of inspiration, I uncovered untapped memories of my own. When I was a little girl, my grandfather used to take me and my siblings to traction engine fairs. I remember the green fields and muddy tracks, bold red and green painted engines with huge wheels and pumping pistons. Most of all, I remember the noise and smell; the sudden whoosh as steam was released that made me leap behind the safety of my grandfather and set my heart hammering against my ribs. The grimy, oily scent would stay in my nostrils for days and linger on the periphery of my senses. I was barely the height of those massive cast-iron wheels and the engines terrified me, deeply embedding a sense of awe. It is that same sense of awe that drew me towards speculative fiction with its big question of ‘what if?’ and then steampunk fiction, drawing on a nostalgia that has sat in the back of my mind for most of my life. If science fiction deals with the ‘what if?’ of pure invention, then perhaps steampunk deals with the ‘what then?’ – a reimagining of what has already been discovered.

My aim was to write a piece of fiction using the city as a backdrop, evoking a strong sense of place. Victorian London has always been a classic backdrop for steampunk and because I know the city well, I felt able to feed on its nostalgia. I chose Paris because it fascinates me and the similarities and differences between the two cities was interesting to explore. So with the background suitably steampunk, I managed to get in a bit of steam-powered tech alongside the retro-futuristic inventions. The protagonist’s story itself attempts to subvert the norms of the historical times, simply by the fact she is female attempting to enter a male dominated profession. And of course, there have to be aliens involved somewhere.

The road to nowhere;
a road of indistinct nature
that baffles and bemuses.
A creature of comfort,
a black hole in the middle
of a City of Bones.
The clouds open up
beneath my dogged stride
darting through
sheets of purple rain.
The ground beneath me rumbles
and a great crack sunders the earth.
I ride through the darkened skies
on the creature’s black-winged back.
Ruby eyes illuminate the space,
burning leaves, baking the tarmac.
And oh, how the city groans.

Like this:

I have always been fascinated with the world that lies beneath London. I guess that travelling through the underground system every day sets off my imagination and so, many of my stories link to underground stations and stops. Getting ahead takes us a little further, literally into the bowels of London.

Although we take it for granted, London Underground uses tunnels originally built by the Victorians and an interceptory sewage system that delivered London’s reprieve from the ‘Great Stink’ of 1858. When it comes to feats of engineering, the Victorians were never short of imagination. You only have to look at the legacy of their work in London to realise that it was an era of industrial revolution and innovation.

My initial approach to research is usually with the people. I love the stories behind people and I’m fascinated by human motivation and behaviour, so I try to link the human stories to a place, then link the stories to each other. I like to get out and write in different places; parks, cafés, libraries, museums, underground stations, benches or anywhere in London where I can soak up the atmosphere and let it spill over into my fiction.

Place is important to me, but my stories are driven by character. I have to say at this point, that I didn’t take my research to the logical conclusion and into the London sewage system, that would be… well, eww. I found this wonderful book called London under London: A subterranean guide, by Richard Trench and Ellis Hillman, which explores the labyrinth of the city beneath our feet. So I let my own imagination run loose and exploited the use of ‘what if…?’

If you can keep your head when all about you are losing theirs… (Rudyard Kipling)

Like this:

Welcome to the Bloodletter’s Arms for our annual seasonal celebrations. Tonight I’d like to introduce you to our speciality house tipple, which has been fermented in oak coffins for the discerning taste of our gothic clientele. It’s red, bubbly and bursting with the taste of iron girders. We call this one, ‘Vlad to be here’. I propose a toast to you all, to an eternity of indifference and alternate reality. Here is my secret recipe.

(WARNING: This is not for the faint-hearted; children should not try this at home without adult supervision.)

Take partially germinated human blood and mix with eggs to make a frothy mush. This process converts the human form into dust, which is used to re-group into a new species.

The new species is drawn off once the dust is spent and boiled in a vat over an open fire.

Separate new life form from the fire and cool in a blood bag labelled, ‘handle with care’.

Water is then added to convert the life form into something you might not want to take home to meet the parents.

It smells like a chundering traction gurney and spews heat like hell’s fire from the underground that fuels London.

Suck it up quick before you gag and preferably not within sight of anyone in their right mind.

Twelve hours later, your skull splits open and peels you from the inside out.

Some people feel slightly nauseous, but once this process is complete you’ll feel perfectly normal.